Mary Poppins Returns
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All Critics (12)
| Top Critics (4)
| Fresh (0)
| Rotten (12)
The cast, so packed with talent that Jean Reno and Cherry Jones barely register, is stuck with stagey dialogue. Juliet Rylance, in the Nina part, has a particularly hard time.
In a movie, nothing good ever seems to happen at a country house. And when it comes to this film, nothing very interesting happens, either.
One can certainly give this movie A for effort, but the achievement falls far short of the lofty intentions.
At 92 minutes, Days and Nights feels choppy and hurried, pushing the narrative toward inevitable tragedy rather than exploring how these dispirited people got there.
Despite the theatrical mannerisms, the story can't help but periodically pick up steam and become compelling. I don't think that was a bad film, I just didn't connect with it.
Lines are read as if unrelated to the ones that came before it, giving conversations a stilted, unnatural coldness.
It's difficult to invest emotionally in these lugubrious characters and their various avenues of depression and dysfunction.
Those who are familiar with the comedic drama are likely to find Camargo's ideas interesting, if a bit obligatory, while those who have neither read nor seen "The Seagull" may just come away thinking of it as a pretentious art film.
This god-awful reimagining of a Chekhov masterpiece will only have you yearning to see Sidney Lumet's underrated 1968 version.
The drama over dinner comes in small analgesic portions, and the secrets feel canned and the dialogue is too pretty to be believable.
Camargo maintains an odd relationship with the source material, his script lost in the limbo between 'inspired by' and 'adapted from.'
A Chekhov modernization/adaptation that doesn't quite come off, despite a generally accomplished cast.
A family unites at a country house, and old wounds open as the patriarch confronts his failing health.
Days and Nights is the film equivalent of Chekhov for Dummies. All the plot elements of The Seagull are checked off, but writer/director/star Christian Camargo doesn't have the same ear for subtext that the great Russian Master made famous. In Chekhov, the beat-to-beat movements of a scene are subtle and logical, but in Carmargo's adaptation, the logic is missing and the narrative is choppy.
Stars Jean Reno, Katie Holmes, and Ben Winshaw are wasted on small and under-used parts, but William Hurt brings a vitality to the ailing patriarch that makes the film momentarily fun and interesting.
Overall, anyone interested in Chekhov on film should check out The Duel or Vanya on 42nd Street instead of this weak effort.
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